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Show mordless Play Allures & Jt fV Dream ol the Orient SKuniurun"' Is Acclaimed by New York as Master-T Master-T piece; Eddie Foy, the Inimitable 'i.ooiv' nl Has New Play. By V anderheyden Fyles Jb Tr;V VOKK. -fan. 27. To I ,1o aw. TV illili:ed.iaol w.lll V 1 Bit ll the essential (post ions, in Hf reear.l to the American Mpienuere Kg sbv, prom-HE prom-HE an.i krr' ;it d'al m forthcoming i should sum up HDie presentation artiste tri- Hmph. were n't (In wor.l ani;-Htfc" ani;-Htfc" terrifyine to the average play-Htoer, play-Htoer, and "triumph"' Hunt cl unto Bttr useles- i"n Heo the hysterica third-aits of the Hpatest ''star" or til'1 .iovial turkc; Hrotlir.ir of t ))o newest vauilevilliau Brho has heard sumctluuj: about the HLrharv coast. ' ibvioiisly, mv sclt-Hkepci't sclt-Hkepci't demands thai c-ftw c-ftw without ,oi'.J. Hut HLjease remember that both arc al-ravs al-ravs in my mind. To beijiii, then, with the matter I pt its . B. 1 inlianll Hb the reinim: Hi" Berlin. Like Hfeost silence HttftT ex' in v.i :: ! i ii;i.-4s that are HpTd ahou! i "I to I Hglu'vc, i ha a man '-jfepab'" ixi'l I'Aieut Hhr ' ".it i Hi, m.i ira b :is i HSuni ; J Heice 1 Hio Hnii' I'rof . Ui'in 7.; Kir..' in i lir iH'utscbea I Rii!i r and thi Ka mmerspieli: in Kerii ii o erc.l w hat a Bp'1' number t artists have al- Kvh hnn'vn thai imaginative KtCi.' ' i" 'a i more potent than Ififu- i reproduction', that una-or una-or ' expanses may. if lighted Kpirl' . Ii. counted ii-on to throw Blc essential !"-jni ' into valuable HrliC rhnt few bold, graphic Hnt i : nvev far mote than JK ''elaborations" . Sf ri;. mi i.' ; " ;in comedian. Jberom p in an appreciation of lHie.se inr.ij.lr- Winthrop ' IH""" I"- ; - -1 -1 an! s in the He- ):, v production "f the Bf."' Ilea trice," V ftxei i i ..t -:. No; HBuiii'.)' re olu- .;. v-Hoti:i v . i ' i '. ork of Claude V'jjKprm. .- . Hut it is . jijB strikine. ;..-:. t:. quaint and nd" idual therefore, its rev- Kmon. ai the drama Ha not nearlv m. de-i'nerate as eul-jKurc eul-jKurc clubs would have us think, is Htni a cut . T i KV K i;. I. i 1 1 Bxbcst to uesi t.i on (lie S tl.inu's that 1 hav seen, that .H u. ay i i 1 1 r-: t i,er nn eon mBIusimii I i. i :or,:ibh the most j wHftlliant uudietiee asHfinljIod in a - Hew York phi vhon"', si N the ibaii'li.ii iif i'mi- t v i heater fcntP!.ii:-.. Matiii-r'd to -e.- ''Suiii- Hfnn." People vrho do not take WWBtern'"... f . i t ,, the- ! inn a? MrtBMt end nw asset. Mile. I tlie nr' vjiM ..,, ,(i-.e-- ,iii wHfe ba Ice ii. 1 pion. h a luster as suffused bf I'll. in. i I al tii,. i..ith, tfaBen I at Hk fiiiie fur the firsl i MlRiie 1 1 i ! 1 1 -. i- -i Ii . c mt dir"' - 1 ii . I Vi: .-sor ",J jtein:.:. i '. niipii i-it . and it Brtiall . Ii, :'u.. .rii.- i u ; but jef liWk the ..ut'id' -in-e pftn-the i-.isti-.- tIim pi; tat ion j ttfcaniurh a- Wmtlirop men had Tl9Hti:; 1 1 1 1 1 1 I f;:.n l' 'Hd E .'en I in authovi; ..' his j UtrliBmRe. ib.v. i (.. ,ii.:-..'.;i! ..ii ii Httle n ..I 0B .tflich an i .. ;. i:d '.i-ref.il et Ol ,:'f till' !"tiL"'' 1 T ..' - ii ' Uli ' ' I i tie Bd b a '. t i In er I va jHju iron':. I I Iv. run In -ion ol 1 tk'TOeB-. al'iinl l'i.- out . v.' i nin"''" ; and suT '-fceinir in a . in 1 n.i, i j n . i i an.i i in'". .,r.-. a -iniin :m. .i 1 ' W1' '' ' i ' I . i : flB fcnuin.'r. : opin as: e rflOC'Hfr Jnst wliriln r I really Ihougl lt GilijKi-ei'rini woi:!d ' ' t-iKe To a..,., Hi la-t , t:,, i, l . ra! n: answer ' ' i . . i . i 1 1 1 a i i . ii ; : 'ne d l- p e . :.: i -1 . I .'or. mys ijn' ;.''! nn-- ', i . e i .i-1 i io'' ..nBp'iniin! v ; 1 1 -1 ' i '.-..ii. the . fj'Hr. he ne .i j, . retired with it ;ffa'B f'"1'1 ' 'it-li 8j plHWu '- .en: i ... ill.. :..; ,,ri '.M-f '.M-f jt B the i as; no i . ,-. t i:.- am it on 1 11 , , M i i 1 1 dr'-ic-v n I. mi- ill1 C I'-By " r:-le : i i-. , MlB".1'1 f'f -"I'-stra 'i.iT'. ' riB i '""''''h: ' '" 'in. i "Mli -irii n jiB1 Howers and i- lighted, on 0c eff ' H,0 t'- . nc. gB1' ''.; i'-'e wt. . i Hi ,- HuirfBT" t,1!S' 'h.- rvf tin oBC:HrH ,,r '"'i; 1 r"M.tal pvl,re ' T rr19!'- i"lf,"i:"d- to the "a;-.-.' A :q 1 iydm1'w'l et up voun- man. who immediately f-trikes the keynote key-note of the plav by droppice into an odd. awKwardfy-jiracefuj attitude, atti-tude, and. thereupon, reciting an Involved prolotrne to the rordleaa drama ' 'Sumurun" is just that a distinct from pantomime, in ;he familiar sense The men haut, dreamincr before hip bazaar, i-on-iures into being a divinely lovely woman vet no more beautiful than .he old sheik's wife, who present ly appears. The youthful couple are siniultai.e.i,ish enamored of each other. FJnt when the old Bheih follows her to restore her to the harem, he in turn is thrilled bv a slave Jfirl, Dosing before a huneh-liaek huneh-liaek 'a theater, lie proposes buving her. but the cripple, who covetta lu-r in vain, refuses to sell. The next BCeno niqhttime m a primitive primi-tive little Oriental playhousi is Bucgestive, in its incidents, of ' Pogliacci, ' ' and. in simplicity of setting, weirdness of its ligh effects ef-fects and warmth of it- few "lors, of the Sargent picture of a Spanish dance hall. Howeer if the lazy expedient of trying to convey an idi-a of anything so individual as "Sumurun is to be resorted to, Maxneld I'nrrish 's i II us.' l ad ions for the "Arabian Nights" talcs can suggest this silent plav most, nearly. Till-' hunchback, in desperation over the hopeh .-sness of his loe. attempts to kill himself; and. "hen fouud, is thought to be dead The adventures of the limp bod;, lifeless in trance, constitute the rh-sl half of the play. This par. is all humor, though 6f a grim and BOinetimes awful ort. Ilee the entertainments fire- more like pantomime panto-mime of the old, familiar sort 1 hough related j Q t he I la nlou 's "Superba " of our youth about as intimately as Galsworthy to Bron son Howard, h'vervoiie is .errifie.l by 4'he discovery of the ghastly burden, and continues, by one triek or another, to foit it off ou some-me some-me else. Thus it Le finally carried into the harem ol the Sheik, the lasl picture being Strikingly like a Maxfield parrish Highly dramatic music ai companies the rapidlv succeeding suc-ceeding scenes of Onen,tal splendor and of unimauinalde lerror, lust and luxury Victor Hollander, com poser of the score, has come over to conduct the orchestra. I found the music too impressive to permit me to comment critically upon it from my one linger knowledge of the art. But perhaps T may sav ihat it dazzled fne with its rich and varied va-ried eolor; sometimes tickled with its inventive fancies; frequently was thrilling with tonal clauses and dramatic understanding; and throughout two hours never palled. THE second part of "Sumurun" begins with a scene similar to it-: Dredecessors; but presently l oracs uncompromisingly and tensely dramatic, mounting fiercely, fierce-ly, rapidly and Bteadilv to a tre-mendouB tre-mendouB climax. The body pf the hunchback, von must understand, hidden fn the lower portion of n box of Oriental silks in which Sumurun herself contrives to have her handsome merchant concealed and thiie smuggled into the harem. So two mail are , onveyed within .he portals, instead of mi". In the meantime, the o'd Sheifc has ot possession of the slave of fatal enchantment, who is loved his on n sou. This is the situation when a veuo within the harem is re-vealed, re-vealed, a gold and black apartmeul three tiers high. Sumurun 's lover is released: but, wi.H, the coming of the Sheik, is hidden. To divert him, Snuiurun dato-es wilh uuac "listoniecl lire; her master seizes her; but. with the merchant's kisses j burning on her hot lips, she re pulses him; Enraged, the Sheik summons his new slave, ami with her mounts the golden stairway. At the ,op. the great scene of the i -Iran. a Is enacted. Here Wein ha nil ip ni ins beet; and his actors carry 'ui his uurposes superbly. The stage is solid black bul for two objects Our is fche - mall, fop landing of I the spiral stairway; the other is a huge, luxurious conch, lighted by one grea,1 lamp from above. The j old Sheik !jes ,.n if j,, :, he&yv sleep-, the slave of fatal enchant i nr.enl is stretched 1-. hie side, wide eyed, miserable The voung sheik rreece up th! stairway: thev em brace: but the jealous Mtinchbfteh is in hiding, He, rousee the old man. 1 who drive? his long knife into I he bodi oi hiv gen, Put before the youth expires, be drags his fp.Mier down the Boldind-black stairs to the other assignation ol tlie harem I ne oi Sbeik, Sumurun and her : lover become cotifuaed in fur j when ti-.e huncbbacl; rrawJing i down the steps, plonget hia own j ). nit.- between the old man's j shoulders. nd the ale., what do ion mppoa? The falling curtail catches sevcTal of the arinrs on our ide Of it : and. Ibsl t phow us that the whole thing wns play, thev dance along the pathway 'lit our midst and merfi'v disappear TT'ii' ol the town haa -- jumped up 9f,.-:.l nntrbes with the coming Eddie Kov Poj .n j'Ch'ar the River."" it ' Hails with a whi ' an. I a whirl and doesn i lel up at any point ; am I i-ertniDh aueh breathless gaielr is not at all unwehonu- in these hh of lnn;,uiil waltzes from Vienna n. semi-operetta ihat ajv pear to have been ebmpoaed i I Little Brother ol the late R Vfag I ner. The rot open?, up with., a I graphic reproduction of a well known pabaret. -ir. bear bo Broadway Broad-way and Forty -secbad Rtroet; and the likenefiB amount s to more than mere BCenor.V, for several perform- erc from the actual restaurant ap pear In the make-hjalleve. For In stance, there is Maurice, the whirl-wmri whirl-wmri dancer who came over from Maxim's in Paris, to ' fling Madeline Made-line d'Harville aboui in the most ioient. ungallant way. Then, too, the Marvellous Millers wipe up ihe .stage with enh Other. And, ii a grain of dusi -li!l ).' upon it. the Kighi Berlin Madcaps swiah it up with terpsichorean abandon. WHEN the curtain falls on the mad. glad, and rather bad that 18, naughty first ad and one has regained one's breathing, the probletri is: Flow-can Flow-can such a pace be maintained? l! is, however, for ''Over the Kiver" is realiv 11. .. do Sonchet's very laughable old fane. "The Man from Mexico,',' ia which Willie Collier use. J to be so funny, done over for a musical setting iy John L. Golden, bv the original author in collaboration vitii i.eorge v. Hobart, The second and third acts adhere more nearly to the old plav though vaudeville "specialists se.ort la have no difficulty whatever what-ever in lireaking info the jail at Blackwell'a l-lan.i and singing and laming to their heart's content. The farce, you may recall, show? DOW a respected . itizvn gets caught in a raid; is sentenced to thirtj days on "Hie Island," uarrowl escapes discovery there by bis wife am) relatives, on charity bent: and finally tells them on his return tha ho has been on a trip' to Mexico. To welcome him the entire en-tire household don the dross and disinss the Customs -of Mexico, which, of course, simplv adds to his confusion In al this whirl and uproar, Eddie Foy is bis familiar quiet and grotesque self; 'mugging." 'mug-ging." indulging in ins own substitute sub-stitute lor dancing; singing in his quivering voice-, flipping bis bat. collar, knees etc , in rhythm to the music, and. in short, keeping everyone ev-eryone gleeful with a lot of darned- fool antics that would probably Strike US as unbearable fni anyone any-one but this same Foy, WILTON LACK K YE '8 commendable com-mendable endeavor lo establish estab-lish a metropolitan stock company of the first class made a bad Btart with "The Stranger;"' but. with philosophic perseverance, he put a second plav Immediately into rehearsal, re-hearsal, it is therefore especially regrettable that, noticing its production, pro-duction, one cau do nothing but record another dismal failure. In a bland, witty, genial speech, after "The Right to Happiness" had dragged itself to the climax of its chief act, Mr. Lack aye engagingly and manfulh indicated his appreciation appre-ciation of the failure of' the com edv bv remarking that he only hoped the piece might attract enough patronage lo allow himself him-self and associates sufficient time to prepare a substitute. Even so modest a desire, however, proved too great, for after four performances perform-ances the new play was abandoned and "The Stranger" put back in its place. THE comedy in question was in-appropriateK in-appropriateK and rr unin- ventivelv called "The Right o Happiness;" win did not Madame P. C. Fay, who translated it from the French of Grustave Ouiche and P B. Gheuai, try for an English rendering of the happ first name "Chacun Sa Vie?" However, as the piece is understood to have gained marked success at no less difficult a theater than the Comedie Francaise, Madame Fay musi obviously- have dropped many more good things than the titular phrase into the Atlantic on the passage over. A self-made man is married to a frivolous, extravagant, heartless heart-less butterfly, who bears him no love at all. Discovering she purposes pur-poses a clandestine journey with a young nobleman. Ibe husband ofl'ers to allow her a divorce. But the other man, who does not hesitate to spend a few weeks with Ins friend's wife, does balk at the proposition to marry a divorcee. The husband, however, finally overcomes over-comes his scruples; and hat, with the BUgge.6t.ion 1hat the great -hearted bourgeois will ultimately find marital congeniality and hap piness with hia secretary, i? the whole affair. Presumably a keen sense of character and much w'it of dialogue were whsl carried oft' thin trite and slender R&ory to Parisian Success. With neither sugar coating in its. English form, the comedv proved quite too unpalatable a pill to swallow ('ards of condolence may be addressed to Wilton Lack aye, Adelaide Keim, Muriel Starr and Wedgowood Howell, who. bv playing the onlv rols of any consequence, con-sequence, may be regarded as chief sufferers from the collapse. |